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STANFORD 
MEMORIAL CHURCH 




THE PALO ALTO TREE 



STANFORD 
MEMORIAL CHURCH 



THE MOSAICS, THE WINDOWS, 
THE INSCRIPTIONS 



BY WILLIS L. HALL 

Copyright, 1917, by Willis L. Hall 
PRICE FIFTY CENTS 



1(8*3 

printed by 

Times Publishing Company 

palo alto, california 

1917 




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©CI.A471303 



JUL 24fSj/ 



CONTENTS 



PAGE 

Introduction 5 

Stanford Memorial Church 15 

The Mosaics 25 

The Windows 35 

The Inscriptions 39 

Illustrations — ■ 

The Stanford Family — Leland Stanford, Jr., Mrs. Jane Lathrop Stanford, 

Senator Leland Stanford 2 

Some of the Trees in the Arboretum .".... 4 

Original Main Gateway to the Stanford Campus 6 

Eucalyptus Trees in the Arboretum 8 

View of Stanford from the Lathrop Residence 9 

President Wilbur and Chancellor Jordan 10 

Dr. John C. Branner 11 

Academic Procession at Installation of Dr. Branner 12 

Academic Procession at Installation of Dr. Wilbur 13 

Original Stanford Memorial Church 14 

Stanford Memorial Church Restored 16 

On the Inner Quadrangle at the Wilbur Installation 18 

The Chancel and Apse in the Original Church 19 

Western Portion of Chancel and Apse in Original Church 20 

A Fraternity House - 22 

A Stanford Graduating Class in Commencement Parade 24 

Lobby of the Stanford Museum of Fine Arts 26 

A Roadway Scene Near Stanford 34 

The Annunciation 36 

A Corner of the Outer Quadrangle 38 

In . the Foothill Country 42 

The Roadway back of the University 43 

The Stanford Battalion Receiving the Colors , 44 

The Stanford Family Statuary Group 46 

Roble Hall, First Dormitory for Women 47 

The Stanford Mausoleum 48 



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INTRODUCTION 




O varied and numerous are the features of Leland Stan- 
ford Junior University it would require a large volume 
to do them any sort of justice. Hence that is not at- 
tempted in this book. Aside from the educational work 
carried on by the institution its most notable feature is 
the Memorial Church, to which attention is turned. However, a few 
words about the university itself are given. 

Leland Stanford Junior University was founded by Senator Leland 
and Mrs. Jane Lathrop Stanford as a memorial to their only son, who 
died abroad March 13, 1884. The founders decided to devote nearly 
all of their large fortune to the endowment of the university. They 
appointed a board of trustees, which board is now in control. Dur- 
ing the greater part of their lives after founding the university Sena- 
tor and Mrs. Stanford were in direct control of everything concerning 
it. Senator Stanford died June 21, 1893. Mrs. Stanford relinquished 
control June 1, 1903, but remained a member of the board of trustees 
until her death a few years later. 

The board of trustees at the present time is composed of the fol- 
lowing: 

Frank Bartow Anderson, San Francisco. 

Ralph Arnold, Los Angeles. 

William Babcock, San Rafael. 

Frank Prentiss Deering, San Francisco. 

Charles Parmelee Fells, San Francisco. 

Joseph Donohoe Grant, San Francisco. 

Herbert C. Hoover, San Francisco. 

Timothy Hopkins, Menlo Park. 

Samuel Franklin Leib, San Jose. 

Percy T. Morgan, San Francisco. 

William Mayo Newhall, San Francisco. 



INTRODUCTION 



Tames Leroy Nickel, San Francisco. 

Leon Sloss, San Francisco. 

Thomas Welton Stanford, Melbourne, Australia. 

Vanderlynn Stow, San Francisco. 

Dr. David Starr Jordan was appointed president of the university 
March 23, 1891, and was formally installed in office October 1 of the 
same year. He continued as president until May, 1913, when he re- 
signed to become chancellor, relinquishing all active connection as a 
member of the faculty in May, 1917, and assuming the title of chan- 
cellor emeritus. Dr. John C. Branner, a member of the faculty from 
the founding of the university, was the second president, retiring from 
office December 31, 1916, and being named president emeritus. Dr. 
Ray Lyman Wilbur, a member of the graduating class of 1896, was 
selected to succeed Dr. Branner and still fills the presidential office. 

The property of Leland Stanford Junior University is estimated to 
be worth more than $40,000,000. It consists of a large amount of valu- 
able stocks and bonds, two large ranches in northern California, San 
Francisco real estate and the tract upon which the university is 
located. This tract was formerly known as the Palo Alto ranch, de- 
voted principally to the breeding of fine horses. The only reminder 
of that feature is the horse cemetery where monuments have been 
erected to Electioneer and other famous trotters and pacers ; also the 
mounted skeleton of Palo Alto, the great trotter, in the museum. 
There are approximately 8,000 acres in this tract, of which less than 
500 are devoted to the university campus. To the south, west and 
north of the university itself, on Stanford lands and tracts owned by 
private citizens, is located the twentieth division United States army 
cantonment. 

The original plan of the buildings provides for three large quad- 
rangles, of which only the central one has been completed. They face 
north and are to form a continuous row almost a mile in length when 
completed, Roble Hall being at the west end and Encina Hall at the 
east. A beginning has been made on the second quadrangle by the 
erection of the Thomas Welton Stanford Memorial Art Gallery, ready 
for occupancy by January, 1918. The new library building is to be 
the next structure undertaken. Others will follow in the course of 
time. Back of the quadrangles the ground has been platted and tracts 
leased for the erection of fraternity houses, residences for professors 




EUCALYPTUS TREES IN THE ARBORETUM 



INTRODUCTION 9 

the Lathrop residence, from which a splendid view of the country to 
the east is obtained. The university campus is in the foreground, the 
city of Palo Alto and Santa Clara valley further along, then San Fran- 
cisco Bay and the mountains to the east. 

In the completed inner quadrangle many notable ceremonies have 
been witnessed by the various generations of Stanford students. First 
was the formal installation of President Jordan. President Branner's 
installation ceremony was held in the same place. The colors of the 
Stanford battalion were presented at a ceremony in the inner quad- 
rangle and were afterward dedicated in the Memorial Church. 

The illustrations show some of the events that have taken place at 
Stanford, also some of the features of the campus and the Stanford 
Memorial Church. 




VIEW OF STANFORD FROM THE LATHROP RESIDENCE 




PRESIDENT WILBUR AND CHANCELLOR JORDAN 




DR. JOHN C. BRANNER 





' ""'"■' " MEMORIAL CHURCH ■'' "~ : " v ' 



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ORIGINAL STANFORD MEMORIAL CHURCH 




STANFORD MEMORIAL CHURCH 



DELIGHT to artists is the Memorial Church at Stan- 
ford University. In it are works of art destined to be- 
come worthy of pilgrimages in years to come. Stately 
architecture, substantial building, beautiful stained glass 
windows and most of all the largest use of art mosaics 
for mural decorations in America combine to make it a structure 
more than unique in character, one worth visiting and remembering. 

El Camino Real, that century-old highway laid out by the Franciscan 
fathers, passes at a distance of less than a mile. An hour's journey 
southeast from San Francisco, if one chooses to travel along this now 
well made modern roadway, he will reach a broad gateway that gives 
entrance to the Stanford University campus. Southward for a mile 
through a vista of palm trees may be seen portions of low, red-roofed 
buildings. Above the central portion a golden point attracts attention. 
While passing along the avenue of palms any one botanically inter- 
ested could find much to absorb attention in the arboretum with its 
hundreds of varieties of trees, but the visitor generally prefers to pass 
on to the university itself. The avenue forks, the branches forming 
an oval, very much racquet shaped, the enclosed space always covered 
with a velvety lawn, outer edges of roadways still palm bordered. 
At the dividing of the main avenue the first view is gained of the 
entire row of buildings, all connected by cloisters, extending a thou- 
sand feet from east to west. Through a gap in the center still more 
cloisters are to be seen, but the golden point gleams above all. 

Rounding the grassy oval the traveler reaches the quadrangle with 
its enclosing cloisters. Passing between two truncated towers, for- 
merly bases of a grand memorial arch, he enters the memorial court, 
cloistered on all sides. Under the arches across the court to the 
south are seen palms and still more cloisters ; but through the central 




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STANFORD MEMORIAL CHURCH 17 

portion sections of a picture appear. The court crossed, the traveler 
passes under one of the arches and is then directly in front of the 
splendidly decorated facade of Stanford Memorial Church. Then he 
learns that the brilliant golden point is the background and apex of a 
great picture. 

At first the impression is that the facade is painted over in a 
most artistic manner. Figures are distinct, colors bright, harmoniz- 
ing, contrasting and the whole work fixing attention. Three carved 
stone arches on massive bases form the lower portion of the facade. 
On the spandrels are Biblical pictures of Faith, Hope, Charity and 
Love. The golden background is decorated in tapestry designs. 
Large stained glass windows framed in stone with lacy carving 
occupy the central portion of the facade above the entrances. At the 
sides of the windows and converging to a point over them is pictured 
the Sermon on the Mount. There are groups of figures, all in posi- 
tion of rapt attention, each individual apparently paying close heed 
to the most notable personage of all — Christ delivering his great 
sermon. Back of him are waving palms and a gleaming sky — the 
golden point that is visible from the distance. 

From nearer vantage the visitor learns that the picture is not a 
painting, but mosaic. Nowhere else in America can such an exten- 
sive use of this form of decoration be seen. The facade, however, is 
only an introduction to a more lavish use of this artistic work. Pass- 
ing' through the entrance and by the bronze scroll doors the visitor 
enters a mosaic decorated vestibule. Pursuing his way into the nave 
he looks forward to the chancel, where the blendings of stained glass 
window lights on mosaics at first dazzle with their brilliance. On 
either side of the nave, both on walls rising from the forward sloping 
floor and in the clearstory, the splendors of stained glass reproduc- 
tions of masterpieces of the old world are presented in colorful beauty. 
Looking skyward under the dome in front of the chancel the visitor 
sees four adoring angels, done in mosaic, apparently rising from 
clouds, in the spandrels over the four large pilasters. 

A closer view of the chancel reveals artistic work of a kind seldom 
seen anywhere. In the center is a white marble communion table. 
Just back of it in the wall is a mosaic reproduction of Cosimo Ro- 
selli's "Last Supper." This is the only copy ever permitted to be 
made of that famous mosaic in the Sistine Chapel at Rome. To the 




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STANFORD MEMORIAL CHURCH 



19 



right and left are golden mosaic niches which will be occupied by 
statues of the apostles. Above in the apse appear groups of a seraph 
choir, separated into four sections by three stained glass windows 
showing the nativity, the crucifixion and the ascension. Still higher 
on each side are four heroic size mosaics of prophets and Jewish 
kings. Cherub faces in mosaic peep forth from flowery backgrounds. 
Turning from the chancel one can see more beautiful stained glass 
windows and mosaics in the transepts, in the clearstory and in the 
great organ and choir loft at the extreme north end. After this pre- 
liminary view it will repay anyone to make a prolonged visit and 
examine thoroughly this more than unique memorial. Returning to 
the entrance to the church the detail of the mosaic work can be studied 
at leisure. This method of decoration was selected by Mrs. Stanford 
after she had noted its effectiveness in Italy. Because of its unfad- 




CHANCEL AND APSE IN ORIGINAL CHURCH 



ing nature and brilliance in color effects it seemed most suitable. 
Furthermore, it is especially adapted to this locality, where extremes 
of heat and cold are not experienced. The grime and smoke that 
smudge building exteriors in cities are not known, while abundant 
rains at certain seasons of the year wash off whatever dust may 



20 STANFORD MEMORIAL CHURCH 

accumulate. So mosaics on the facade are always clear and brilliant. 
The university ground plan comprises an outer and an inner quad- 
rangle, each side of the outer being more than a thousand feet long. 
On three sides of the outer quadrangle the buildings facing outward 
are connected and enclosed by cloisters, every structure being of the 
same rough buff sandstone, red tiling roofs. There is ample space in 
this plan for many buildings, liberal provision for light and air, yet 




WESTERN PORTION OF CHANCEL AND APSE IN ORIGINAL CHURCH 



every one is convenient of access. The inner quadrangle, also clois- 
tered, has an open court in which space has been allotted for trees. 
On the south side of this court in the very heart of the university the 
Stanford Memorial Church is located. 

It does not impress by size, as it extends only 200 feet back from 



STANFORD MEMORIAL CHURCH 21 

the court has a breadth of about 100 feet and the height to the cross 
topping the apex is only about 90 feet. Adaptations of several styles 
of architecture have been used in the structure. Surrounding it the 
modified mission predominates, while the church is more Romanesque, 
especially in the interior. The buff sandstone readily lends itself for 
the lacy carving in the arches over the entrance and windows. It also 
conveys the impression of solidity when seen in the mass, either 
smooth or rough. Its neutral tone serves well to bring out by con- 
trast the bright colors in the mosaics and windows. 

To speak of the church's history, it was built primarily by Mrs. 
Stanford as a memorial to her husband and to fulfill one of the objects 
of the university's establishment. The founders' deed of gift pro- 
vided that non-sectarian religious study should be a part of the 
work undertaken. In 1898 Mrs. Stanford and the trustees asked San 
Francisco architects to submit designs. Shepley, Rutan & Coolidge 
in making the original sketch followed the motif of Trinity Church, 
Boston. Clinton E. Day of San Francisco prepared the plans and 
Charles E. Hodges was the supervising architect. Mrs. Stanford 
made a special tour of Europe to select designs and methods of deco- 
ration. It was on January 25, 1903, that the church was sufficiently 
advanced in construction for dedication. At the ceremony were cler- 
gymen of all denominations. By their participation they demon- 
strated a friendliness non-sectarian in nature that has been fos- 
tered and has grown under the guidance of Dr. D. Charles Gardner, 
pastor of the church and chaplain of the university. From 1906 to 
1913 the building was not in use, as during that time work was in 
progress repairing the damage suffered in the earthquake. Since 
then it has been in constant use. It is open every day for visitors. 

Though occupying the anomalous position of ministering to the 
spiritual wants of more than a thousand young people of all creeds 
the results achieved so far have not been disappointing. The effort 
is still in its experimental stage, according to Dr. Gardner, but there 
seems to be no present cause for discouragement. 

Apparently the idea of Mrs. Stanford and her coadjutors, both in 
the erection of the original structure and in the reconstruction work, 
has been to make the church as permanent a building as possible 
and have the decorations of an equally enduring character. The best 
efforts of engineering: and artistic genius have been exerted to secure 



22 



STANFORD MEMORIAL CHURCH 



these two results. The 1906 earthquake hadly wracked the carefully 
constructed edifice. The tower and its chime of bells fell ; the solid 
walls were cracked, while the mosaics and Carrara marble statuary 
in the chancel were injured beyond repair. In reconstruction work 
great care has been taken to assure permanence. Each stone of the 
original structure, so far as it has been posible to do so, has been 
relaid as it was before being thrown down. But this time, in addi- 
tion to being set in cement, each stone is securely bolted to its neigh- 
bors, making the whole structure practically one massive hollow rock 
on a great steel foundation skeleton. On these firm walls the interior 
and exterior mural decorations are placed. If the building stands for 




A FRATERNITY HOUSE 



centuries all the decorations will be as fresh hundreds of years from 
now as they are today. Fadeless and enduring are the colors of this 
work, not subject to the deterioration so lamentably shown among 
frescoes and canvases seen in other countries. The Venetian and 



STANFORD MEMORIAL CHURCH 23 

Roman mosaics put in centuries ago show no signs of fading, nor 
will those at Stanford. 

It is a matter of congratulation not only to the people of the west- 
ern portion of the country, but to all America as well, that the sub- 
jects were so well chosen. In years to come it may be that artists 
of other generations will journey to Stanford to study the master- 
pieces which will show' the true coloring and detail elaborated by 
men of genius. It is noteworthy that the figures of women are more 
numerous than in church decorations generally. Mrs. Stanford de- 
sired this to show the uplifting influence of religion for women. The 
result is eminently pleasing and satisfying. 

For a great part of the years Stanford University has been open 
for students many thousands of young people daily have been asso- 
ciated with these evidences of art as applied to religion. Repeated 
viewing does not lessen the attraction. Consciously or unconsciously 
they have cultivated an appreciation of art and they have carried with 
them to sterner fields of action standards of beauty and its presenta- 
tion that prove uplifting. Memories of other things may dim ; les- 
sons learned in the recitation halls may be forgotten entirely; the 
hard fought contests on athletic fields may dwindle to mere trifles ; 
but not so with the pictures that must be impressed indelibly upon 
the tablets of memory. The Stanford Memorial Church and its mas- 
terful mosaics will always be reminders of artistic work. Nor will 
they forget the sentiment carried on the dedication inscription : "Me- 
morial Church erected by Jane Lathrop Stanford to the Glory of God 
and in Loving Memorv of Her Husband, Leland Stanford." 





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THE MOSAICS 




LL the mosaics at Stanford University came from the 
studio of Dr. Antonio Salviati & Co., Venice, Italy. 
In addition to the work on the Memorial Church are 
eight large pictures high up on the walls of the museum 
building and the decorated vestibule of the mausoleum. 
From Salviati & Co. the following information was obtained relative 
to the origin, development and process of making mosaics : 

By the term mosaic is meant a work formed by the use of a very 
large number of pieces of material, varying in size, the substance 
being most durable. Sometimes pieces are of marble, sometimes of 
enamel, improperly termed glass, the pieces being of numerous vary- 
ing shades of colors, forms and sizes. They are made to produce 
more or less successfully (according to the skill of the mosaicists 
in dressing and joining them) the same result as is obtained by the 
painter with his pencil or brush. The pieces, placed together ac- 
cording to design, are fixed on cement ; thus so joined the whole 
forms one solid body of unquestionable durability. 

Mosaics originated in Greece, but have been developed to their 
highest beauty and excellence in Venice. The ancients knew the 
advantage of color and prominence that should be given to it in 
architectural decoration. Having used marbles of different colors and 
painted substances without having been able to obtain the desired 
effect, they perceived the necessity of using some new materials for 
the purpose of making mosaics in order to obtain those varieties of 
tints and shades which were not provided in natural substances. 
They hit upon colored glass as this substitute. First it was trans- 
parent, then opaque — that is, enamel — and this was found to be the 
fittest material with which to obtain the desired effect. Its suitability 
was also determined by its power of resistance to atmospheric in- 



26 



STANFORD MEMORIAL CHURCH 



jury. Colored enamels are made from the same raw materials, sili- 
ceous, etc., as glass, but to these ingredients are added other mineral 
substances, which, when properly fused together, impart to the 
enamel its durability, density, extreme hardness and also its color. 
Gold and silver enamels are the result of different processes. On a 
ground of thick glass is laid a sheet of gold or silver leaf, then a film 
of the purest glass is spread over it and these three layers are sub- 
jected to intense heat, with the result that they are fixed in one solid 
body, the metallic leaf being buried between two strata of glass. 




LOBBY OF THE STANFORD MUSEUM OF FINE ARTS 



This process requires considerable skill and knowledge for its suc- 
cessful accomplishment. All pieces of enamel are approximately a 
quarter of an inch thick. They are rarely more than an inch long or 
wide and vary in shape as the necessity of the design requires. 

Greek artists expelled from Byzantium founded the school of mo- 
saic art in Venice. Strange to say, the pupils exceeded their masters 



THE MOSAICS 27 

in developing the art, so that now Venice is known the world over for 
the work in this line. Its progress is illustrated in the glorious basilica 
of St. Mark's, which is covered with mosaics of the various periods 
and which has become a building marvelous for its beauty, richness 
and peculiarity. Learned men who have spoken and written of this 
church have told of its charm. While presenting a collection of 
many styles of architecture it also enshrines every possible example 
of mosaic decoration from the middle ages down to our time. John 
Ruskin says of it : 

"The perception of color is a gift just as definitely granted to one 
person and denied to another as an ear for music, and the Venetians 
deserve a special note as the only European people who appear to 
have sympathized to the full with the great eastern races in their 
feeling for color. They indeed were compelled to bring artists from 
Constantinople to design the first mosaic of St. Mark's, but they 
rapidly took up and developed under more masculine condition the 
system of which the Greeks had shown them the example. I believe, 
of all works of religious art whatsoever, the mosaic (mostly of the 
twelfth and thirteenth centuries) represented in a central manner 
by the great ones of St. Mark's, have been the most effective. They 
covered the walls and roofs of the churches with inevitable lustre. 
They could not be ignored or escaped from, their size rendered them 
majestic, their distance mysterious, their color attractive. Churches 
ought to be richly adorned, as being the only places in which the 
desire of offering a portion of all precious things to God could be legit- 
imately expressed." 

Street, in "Brick and Marble of the Middle Ages," says: "Over 
and over again, when at Venice, one must go to St. Mark's, not to 
criticize, but to admire, and if ever any building in which the main 
object is the study of art, assuredly here it must also be to worship. 
I think I never saw an interior so thoroughly religious and religion 
inspiring, as this, and it is well, therefore, not lightly to pass it by 
as useless for our general purpose. It seems to show, as strongly as 
any example can, how much awe and grandeur even a small building 
may attain by the lavish expenditure of art and precious materials 
throughout its fabric, for it is to this that St. Mark's owes its gran- 
deur, and to this only. There is nothing imposing, either in its size 
or its architecture ; on the contrary they appear to be rather mean. 



28 STANFORD MEMORIAL CHURCH 

and yet this grand display of mosaics upon a glorious gold ground 
makes the work appear both larger and better than it is." 

All writers agree on the subject, however, whether Venetian or 
otherwise, in granting to Venice pre-eminence in the art of mosaic. 
It is significant to record a sentence of Lanzi, in his "Storia Pit- 
torica della Toscana," where, after having related the useless attempts 
of the Florentines to decorate worthily the chapel of St. Zenobia, he 
says : "It seems, indeed, that the glory of making mosaic has been 
reserved to Venice." It is impossible to set it down as mere chance 
that Venice succeeded in reaching so high a degree of perfection in 
the mosaic art, for more probable it is that it was a privilege afforded 
to her by peculiar and natural circumstances, arising out of her ma- 
terial and artistic position, her natural inclination, her skill and her 
possession of the grandest example for study and imitation. 

These opinions have to do mainly with mosaic work of bygone cen- 
turies. Strange to say, there was a decline in the art for a long 
period. Its renaissance is due in great measure to the study and 
experimentation of Dr. Antonio Salviati. His leisure time after 
attention to his profession in the Forum of Venice was devoted to 
studying the great works around him. It was a source of grief to 
him that these were apparently decaying for want of attention such 
as only skilled artists could provide. He was firm in his conviction 
that his city still possessed the best elements for exercising and de- 
veloping and improving the art of mosaic. He therefore abandoned 
his profession and enlisted the aid of Lorenzo Radi of Murano, an 
artisan who for many years had devoted his attention to the produc- 
tion of gold and colored enamels. As a result of their combined 
efforts the new process of producing gold enamels was perfected. It 
was pronounced by a committee of the Academy of Fine Arts of 
Venice to be successful in producing "gold enamels for mosaic work 
superior to those previously manufactured, even to some of the 
ancient ones, from the brilliancy and transparency of the vitreous 
layer (crystalline) over the gold leaf, having a compactness and 
adhesiveness to the underlying layer, so as to secure the greatest 
possible durability, as well as of the lustre and continuity of the 
gold leaf and the tablet presenting neither scratches nor swelling. 
As regards the pieces of colored mosaics, we have found them in 



the mosaics 29 

part even superior, through the delicacy and softness of the tints, to 
those of ancient mosaics." 

Along with this improvement in materials another great obstacle 
had to be surmounted. The ancient mosaicists prepared a space on 
the wall, then slowly, piece by piece, placed the mosaic together. 
This was a very expensive method. It required the services of the 
artist on the ground where the mosaic was placed in order to have the 
work done at all, practically requiring a complete mosaic studio and 
factory for each installation of a piece of work. To this prohibitive 
cost must be attributed the decay in the art that continued for so 
long. Dr. Salviati's modern process is much more simple and vastly 
cheaper. By it he can produce work at his studio in Venice and send 
it to any place in the world, ready to be mounted in permanent form. 
The subject is first designed and painted out in full color. Then a 
copy is made on paper and this is cut into sections which are distrib- 
uted to various artists, each one of whom is employed in covering 
with mosaic such parts of the general subject as his skill permits 
him to master. These pieces are worked upon the paper in reverse. 
When finished the sections are packed in cases and sent to the place 
which is intended to be decorated with the mosaic. Here the work 
is put together and fixed on the wall. 

Each artist in preparing his section has to exercise the greatest 
intelligence and patience as well as his knowledge of color. His eye 
must be very exact to enable him to choose the right bit of enamel 
from more than 10,000 different shades at his command. Bit by bit 
he proceeds, matching the colors of the original painting perfectly 
and duplicating all its lines. When properly placed in position there 
are narrow interstices between the component parts of the mosaic. 

Accompanying each completed mosaic when it leaves the studio 
is a rough sketch or preferably a photograph marked off in irregular 
lines according to the sectional parts, each section being numbered 
for easy identification. An assembled mosaic, mounted on paper, is in 
exact reverse from what it appears on the wall. It is the same as 
reading matter when looked at in the type form or a picture seen in a 
printing block. Inequalities of surface caused by uneven thickness 
of enamel are overcome in the final mounting by the face being fas- 
tened to the smooth mounting paper; then in placing permanently the 



30 STANFORD MEMORIAL CHURCH 

backing material yields to the deeper indentation of the thicker por- 
tions, leaving the exterior surface smooth. 

To Lorenzo Zampato was entrusted the work of placing the Stan- 
ford mosaics. For more than four years he was constantly employed 
on the task. He illustrated the truth that to be an artist one must 
first~be an artisan. In preparation for mounting a matrix of sand, 
brick dust and cement is prepared. This is moistened and mixed, 
then spread on the back of the mosaic section and on the wall upon 
which it is to be mounted. While the matrix is plastic the artist 
places the section in position and presses it firmly into place. Pres- 
sure forces the adhesive mixture into the interstices between the 
enamel pieces, holding them firmly and permanently, and after being 
allowed to rest in place for a time the mounting paper is moistened 
and removed. With a small block similar to the planer used in level- 
ing type forms the artist smooths the mosaic surface, hammering it 
into place. As the material is very hard there is not the slightest 
danger of injury to any portion. After another interval the mosaic 
is thoroughly cleansed, exuded portions of the cement removed and 
the mounting of the section is complete. So it goes on till all is done. 
After the moisture evaporates the cement hardens and the mosaic 
becomes an integral part of the wall. At times gaps must be filled 
in the background, or portions have become dislodged in handling. 
These are replaced by the artist, making the whole mosaic perfect. 
Making and placing mosaics of this character is more than a trade; 
it is art. 

M. Zampato had more to do than merely placing the mosaics as 
received from Venice. In reconstructing the facade, in particular, 
the design was changed. A large inscription at one time occupied 
the broad space under the windows. This was condensed in size and 
carved on a tablet at the east of the entrance. A water scene was 
substituted under the windows and allowed to remain in place for a 
few months. It proved inharmonious and a changed architectural 
scheme outlined by John K. Branner was adopted. For this M. Zam- 
pato furnished the mosaic design and put the material in place after 
the stonework had been completed. 

To appreciate the full artistic value of mosaic work it is best not 
to approach too close. The work is broad in its lines, necessarily so 
from the nature of the medium employed. When viewed from too 



THE MOSAICS 31 

near a vantage the small component parts stand out too distinctly 
and rob the composition of that continuity of line which must persist 
to convey the idea of the artist. 

It would require the ability of an artist of rare judgment to select 
the best piece of work among the numerous fine mosaics. No choice 
will be made here. The largest single piece of work, of course, is 
that on the facade, "The Sermon on the Mount." Among the 47 peo- 
ple to be counted in the whole assemblage may be recognized the 
apostles and many of the women mentioned in the Bible as closely 
associated with Christ. The grouping is excellent and the portraiture 
when viewed from the proper distance wonderfully lifelike. The sub- 
ject is peculiarly one for just that position on the church, as it allows 
of the grouping in an ascending scale to the central, purple and white 
robed figure of the Savior delivering his immortal sermon. 

The vestibule of the church is decorated in a uniform tapestry 
design, all in mosaic. Alternating medallions bear in monogram 
form the Greek letters Alpha and Omega and Christ's initials. In 
the frieze over the doors are two cherub groups supporting tablets 
bearing the inscriptions, "Domus Dei Locus Orations," "Domus Dei 
Aula Coeli." 

After entering the body of the church from the vestibule the chan- 
cel and apse decorations may be viewed at a distance, but it is better 
to begin a methodical examination at the doors. To the east, under 
the organ loft and over the doors, is "Our Lord on His Throne Sur- 
rounded by the Four Evangelists, Apostles, Kings and Friends;" to 
the west is "Our Lord Receiving Christ in Paradise." 

Proceeding along the east side of the nave the visitor may see the 
mosaics in this order: 

Under the arches of the east wall of the nave : 

"The Prayer of Hannah." 

"Ahasuerus Selects Esther to Be His Queen." 

"The Judgment of Solomon." 

"Saul Casts His Spear at David." 

"God's Promise to Solomon when Building the Temple." 

Over the side door, near the pilaster : 

"The Garden of Eden." 

On the east wall of the clearstory, over the arches : 

"God Separating Darkness from Light." 

"Driven from Eden." 

"The Deluge." 



7,2 STANFORD MEMORIAL CHURCH 

"The Tower of Babel." 

"Moses Saved from the Waters." 

On the east wall of the clearstory, between the windows : 

"Noah Is Ordered to Build the Ark." 

"Abraham Is Informed He Will Have a Son." 

"Angel Gabriel Announces to Zacharias the Conception of Eliza- 
beth." 

"Abraham Sees the Promised Land." 

"Daniel's Prophecy." 

In the wall of the chancel is a reproduction of "The Last Supper," 
from the Sistine Chapel in the Vatican at Rome. The original is 
the work of Cosimo Roselli and this reproduction at Stanford is the 
only one that has been allowed to be made. 

A large picture, "The Seraph Choir" or "The Glory of the Angels," 
separated into four sections by stained glass windows, is from a sketch 
made by Professor Paoletti and approved by Mrs. Stanford. It con- 
tains a large number of figures and is a masterly piece of work. 

Above in the apse are mosaic portraits of John the Baptist, Ezekiel, 
Samuel and Jeremiah on the east ; opposite are David, Elias, Moses 
and Isaias. 

Over the four pilasters supporting the dome are spandrels in mosaic 
representing angels emerging from clouds. The ceiling of the dome is 
decorated in mosaic, a notable feature being a frieze containing a large 
number of medallions. 

Under the arches on the west wall of the nave, beginning at the 
entrance : 

"Rebekah and Isaac." 

"Rachel Sees Jacob Approaching." 

"The Lord Speaks to Moses from the Burning Bush." 

"Moses Is Ordered to Take Israel out of Egypt." 

"Joshua Finds a Captain for His Hosts." 

Over the door, near the pilaster : 

"Old Testament Prophecies Concerning the Coining of Christ." 

On the west wall of the clearstory, over the arches : 

"Moses Receiving the Tablets of the Law." 

"Joshua Successor of Moses." 

"David Anointed for the First Time." 

"Meeting: of David and Abigail." 



THE MOSAICS 



33 



"David Singing His Psalms." 

On the west wall of the clearstory, between the windows : 

"Joseph Sold by His Brothers." 

"Jacob Going to Canaan." 

"Isaac Blessing Jacob." 

"Dream of Jacob." 

"Abraham Restrained from Offering up Isaac." 

In the wall of the gallery of the east transept are mosaics of Noah, 
Noah's Wife, Isaac, Rebecca, Jacob, Rachel, Tobias, Sarah, Nathan, 
Deborah, Aaron, Naomi ; also over the doorways are lunettes of cherub 
singers, while the remainder of the wall is filled in with tapestry 
mosaic work in varied colors. 

In the wall of the Avest transept gallery are shown in mosaic twelve 
Saints : Helena, James, Margaret, Andrew, Philemon, Thaddeus, Eliz- 
abeth, Bartholomew, Madeline, Barnabas, Gertrude, Philip. Lunettes 
over the gallery doors correspond in size to those in the east gallery, 
but are of different design, while the tapestry mosaic work is of the 
same pattern. 



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A ROADWAY SCENE NEAR STANFORD 



THE WINDOWS 



g$G7QM HE windows are as much a feature of the church as the 
mosaics. For these the works of master painters of Eu- 
rope were drawn upon for subjects. It required three 
jp^M^iji years for J. and R. Lamb of New York to complete them. 
These works of art were not injured in the earthquake of 
1906 and are seen in all their original beauty. An exception is the 
large window in the organ loft, which replaced the famous rose win- 
dow of the original structure. Appropriate scriptural quotations are 
added below the pictorial portion of the window. These are given 
with the names of the subjects for the larger pieces. 

Beginning in the nave on the east side of the door the windows in 
order are as follows : 

"The Annunciation" (after Shields), Luke: 1-30, 31. 

And the angel said unto her, Fear not, Mary, for thou has found favour with God. 
And behold thou shalt conceive in thy womb and bring forth a son, and thou 
shalt call his name Jesus. 

"The Flight into Egypt" (after Plockhurst), Matthew: 2-13. 

Now when they were departed, behold, an angel of the Lord appeared to Joseph 
in a dream, saying, Arise and take the young child and his mother, and flee into 
Egypt, and be thou there until I tell thee : for Herod will seek the young child 
to destroy him. 

"The Home at Nazareth" (after Hoffman), Luke: 2-40. 

And the child grew and waxed strong, filled with wisdom, and the grace of God 
was upon him. 

The five windows in the east transept are : 

"Christ in the Temple" (after Holman Hunt), Luke: 2-48, 49. 

And when they saw him they were astonished : and his mother said unto him, 
Son,, why hast thou thus dealt with us ? behod thy father and I sought thee sor- 
rowing. 

And he said unto them, How is it that ye sought me? wist ye not that I must be 
in my Father's house ? 




THE ANNUNCIATION 



THE WINDOWS 37 

i 

"Christ's Baptism" (after Dore), Mark: 1-11. 

And a voice came out of the heavens, Thou art my beloved Son, in, thee I am 
well pleased. 

"The Sermon on the Mount" (after Hoffman), Matthew: 5-16. 

Even so let your light shine before men, that they may see your good works 
and glorify your Father which is in heaven. 

"Christ Calming the Tempest" (after Dietrich), Matthew: 8-25, 26. 

And they came to him and awoke him, saying, Save, Lord ; we perish. 
And he saith unto them, Why are ye fearful, O ye of little faith? Then he 
arose and rebuked the winds and the sea and there was a great calm. 

"The Raising of Jairus' Daughter" (after Hoffman), Luke : 8-52,54. 

And all were weeping and bewailing her : but he said, Weep not, for she is not 
dead, but sleepeth. 
And they laughed him to scorn, knowing that she was dead. 
But he, taking her by the hand,, called, saying, Maiden, arise. 

The three large windows in the chancel are "The Nativity" (Fel- 

lowes-Prynne), "The Crucifixion" (Degger) and "The Ascension" 

(Carlotti). 

In the west transept, from the chancel onward, are : 

"The Miracle of the Loaves and Fishes" (after Murillo), Luke: 9-16. 

And he took the five loaves and the two fishes, and looking up to heaven, he 
blessed them, and brake ; and gave to the disciples and set before the mutitude. 

"Christ and the Adulteress" (after Hoffman), John: 8-7 and 11. 

But when they continued asking him, he lifted up himself, and said unto them, 
He that is without sin among you, let him cast the first stone at her. 

And she said, No man, Lord. And Jesus said, Neither do I condemn thee : go 
thy way ; from henceforth sin no more. 

"The Good Shepherd" (after C. S. Parker), John: 10-11. 

I am the good shepherd : the good shepherd layeth down his life fori his sheep. 

"Christ in the Home at Bethany" (after Hoffman), Luke: 10-41, 42. 

But the Lord answered and said unto her, Martha, Martha, thou art anxious 
and troubled about many things. 

But one thing is needful : Mary hath chosen the good part, which shall not be 
taken away from her. 

"Christ in Gethsemane" (after Hoffman), Luke: 22-42. 

Saying, Father, if thou be willing, remove this cup from me ; nevertheless not 
my will, but thine, be done. 

In the west wall of the nave : 

"The Dream of Pilate's Wife" (after Dore), Matthew: 27-19. 

And while he was sitting on the judgment seat, his wife sent unto him, saying, 
Have thou nothing to do with this righteous man : for I have suffered many 
things this day in a dream because of him. 



38 



STANFORD .MEMORIAL CHURCH 



"The Angel at the Tomb" (after Ender), Mark: 16-6. 

And he saith unto them, Be not amazed ; ye seek Jesus, the Nazarene which hath 
been crucified : he is risen ; he is not here : behold, the place where they laid him ! 

"Lo, I am with yon always," an original design by Paoletti, Revela- 
tions : 22-4. 

And they shall see his face. 

In the clearstory windows, beginning near the organ on the east 
side, are portrayed Abraham, Hagar and Ishmael, Moses, Pharaoh's 
Daughter, Joshua, Deborah, David, Ruth, Solomon, the Queen of 
Sheba, Elijah, Esther, Isaiah, Judith, Daniel, Hannah; opposite are 
the Saints — Simeon, Anne, Matthew, Faith, Mark, Charity, Luke, 
Dorcas, Paul, Martha, Stephen, Agnes, Peter, Priscilla, John, Hope — ■ 
seen in the order named. 




A CORNER OF THE OUTER QUADRANGLE 




THE INSCRIPTIONS 



&3g§§8 <7=^ ^m XSCRIPTIONS occupy places on the walls specially set 
/,<? apart for that purpose. In all cases except the memorial 
^^ tablets on the four pilasters the inscriptions are enclosed 
$jsL in a carved framework of the buff sandstone of which the 
~~°' church is built. It is best to take them in succession 
while making a circuit of the auditorium. Beginning at the east of 
the central inner entrance the inscriptions in order are as follows : 

A noble ambition is among the most helpful influences of student life, and the 
higher this ambition is, the better. No man can work well unless he can speak 
as the Great Master did of the joy set before him. 

And this leads to the greatest of all safeguards, and the most encouraging of all 
stimulating influences to a noble life, — that is, the power of personal religion. We 
need something outside of and beyond ourselves. "Remember, you are not your 
own, — You are bought with the precious blood of Jesus." 



The world is new to every soul when Christ has entered into it. 

We can never perish if we remain in the arms of our Father Almighty. 



In the great record above, our names are written in characters of love, — which 
love for our dear Jesus alone can read, and which by his great love for us alone 
have been graven. 

The highest service may be prepared for and done in the humblest surroundings. 
In silence, in waiting, in obscure, unnoticed offices, in years of uneventful, un- 
recorded duties, the Son of God grew and waxed strong, 



On the base of the pilaster, in gold illuminated letters, the first me- 
morial tablet is placed. Another similar tablet is on the side facing 
the chancel. They read : 

In loving memory of Leland Stanford, son of Josiah and Elizabeth Stanford. 
Born March g, 1824. Died June 21, 1893. 

In loving memory of Elizabeth Stanford, mother of Leland Stanford. Born 
April 14, 1791. Died February 27, 1873. 



40 STANFORD MEMORIAL CHURCH 

On the walls of the east transept the inscriptions are : 

True life is the principles of Christ lived. There is no other life that 'is true. 
To condense it still more, the true life is the Christ life lived. 

God knows what His children want before they ask, but it proves their faith 
in him to pray for what they want. 



Religion is intended as a comfort, a solace, a necessity to the soul's welfare ; and 
whichever form of religion furnishes the greatest comfort, the greatest solace 
it is the form which should be adopted be its name what it will. 

The best form of religion is, trust in God, and a firm belief in the immortality 
of the soul, life everlasting. 



An eternal existence in prospect converts the whole of your present state into a 
mere vestibule of the grand court Of life ; a beginning, an introduction to what is 
to follow ; the entrance into that immeasurable extent of being which is the true 
life of man. The best thought, affections and aspirations of a great soul are fixed 
on the infinitude of eternity. Destined as such a soul is for immortality, it finds 
all that is not eternal is too short, all that is not infinite is too small. 



A life that is founded on the principle of goodness, love, wisdom and power that 
represents the Christ has a lasting foundation and can be trusted. 

We speak of love, but what do we know about it, unless we see the power of 
love manifested ; unless we are given the power to bestow, and a willing heart to 
bestow it upon, and within humanity? We say God is love, but if we do not 
feel the power of His love, we do not know anything about it. To be loved by 
others makes the power of love within our hearts grow. 



This is carved on a cross in the center of the transept wall : 

The CROSS is the emblem of faith, hope and love, those ineffable virtues of the 
soul that abide forever, that can never be outgrown, even on the loftiest planes of 
being in the mighty universe of God. 

Man, like every other individuality, has an object and a purpose to fulfill; and, 
when he comprehends this, he will think too much of himself to stoop to any 
material action that shall bring him down from the highest position on the throne 
of his nature. 

To acknowledge God is often done without acknowledging God's great love for 
us, and it is His love and tender care and wise leading we should all reflect upon 
more than we do, — much more if we would do our duty. 



Events are messengers of either Divine goodness or justice. Each has a mission 
to fulfill, and, as it comes from God, accomplish it and, in sending them, the good 
Father sends means by which they may be endured, — perhaps averted. Remedies 



THE INSCRIPTIONS 41 

in sickness. Love in trouble. Comfort in weakness. Renewed hope in disap- 
pointment. Tears in sorrow. Smiles to follow tears. 



Knowledge is intelligence and its impress comes upon the mind. Wisdom is the 
desire of the heart prompted by God's highest and most Divine nature and com- 
prises all knowledge. Wisdom is the highest spiritual intelligence, while the natural 
man, through knowledge, can know nothing of wisdom. 

A man may have great intelligence and yet have nothing of the Christ life 
within him. 



May we belong to God in this mortal life, serving Him faithfully through its 
trials, bearing the cross after Him, and may we be His forever in life eternal, with 
the whole Celestial Court. 

It is a great advancement toward the fulfillment of desires in the life beyond to 
have lived a Godly life on earth. 



On the base of the pilaster at the east side of the chancel is another 
memorial tablet in gold lettering: 

In loving memory of Josiah Stanford, father of Leland Stanford. Born Feb- 
ruary 28, 1795. Died April 19, 1862. 



Below the base of the pulpit at the east side of the chancel : 
Lord Jesus, without reserve,, without exception, without limitation, may Thy holy 
will be done in all things, at all times. 



Below the reading stand on the west of the chancel : 

It is by suffering that God has most nearly approached to man ; it is by suffering 
that man draws most nearly to God. 



On the base of the pilaster west of the chancel : 

In loving memory of Dyer Lathrop, father of Mrs. Leland Stanford. Born May 
14, 1787. Died April 19, 1855. 



On the wall of the west transept, beginning at the pilaster at the 
chancel : 

There are but few on earth free from cares, none but carry burdens of sorrow, 
and if all were asked to make a package of their troubles and throw this package 
on a common pile, and then were asked to go and choose a package which they 
were willing to bear, all would select their own packages again. 

Your heartaches may be great, burdens heavy, but look about you, and with whom 
would you change? 



The test of a Christian lies in deeds and actions, not in words, a true follower 
of truth and Godliness, not a follower of the impressions of the flesh nor the 
impress of the intellect alone, but endeavoring to let the heart be touched by the 
divine principle of God's truth and that alone makes Christians. The instinct 



42 



STANFORD MEMORIAL CHURCH 



given to all of God's children to seek happiness is proof that happiness is a reality 
within the reach of all. 



If we do good deeds to others and try to help them to live happier and better 
lives by being kind to them, and teaching them of the God germ within themselves, 
we in that way sow the seed and God in His own way and time will make it grow. 
There is such a thing as mistaking Christian privileges for Christian attainments, 
and of imagining that we are what we ought to be simply because we know it. 
There is something in all hearts that can be reached, — some chord that will give 
forth sweet music if we only have the skill to touch it. 

May the peace which no earthly disturbances can mar, which is of the Father 
through His inspiration and love, fill your hearts, and enable you to go on in the 




IN THE FOOTHILL COUNTRY 

It is a region of rolling foothills between the Stanford University campus and the 

Santa Cruz Mountains to the west. Over these hills and mountains the 

soldiers will carr}' on their training campaign work. 



journey of life with a feeling of trust and confidence that nothing can disturb. 
It is not love for God, but love for the neighbor, good will toward man universal, 
kindness and gentleness, that makes saints on earth. One must give as well as 
take of goodness, gentleness and unselfish kindness to meet with God's approval. 



On a cross corresponding to that in the east transept is carved : 
O God, Thou Divine principle of good, who dwellest in harmony and love, we 



THD INSCRIPTIONS 



43 



feel in our souls that thou art good to us, for we believe that Thou rulest in all 
things for each one's ultimate good, and we desire to be true children of light and 
of Thine. 



God is all in all : and, if we cannot appropriate and worship Him in all things, 
we worship only part of God. 

As we grow and improve, we will love more and more the beautiful everywhere. 
Praise God for the gift of nature for giving so much of everything that is beautiful 
in all the universe, because His life is in it all. 

By your life only can you prove your principles to the world and show to them 
there is a life worth living. 



Regard not the appearances of things you are to do, but Him who commands 




THE ROADWAY BACK OF THE UNIVERSITY 



them, and who, when he pleases, can accomplish His glory and our perfection 
through the most trifling things. 

When a person thinks a duty is beneath him, he places himself above God, for 
He deals with that same duty. 

Let us never be sad, save at having offended God. 



God gives all some work to do. — if not great deeds, then small ones, — as the cup 
of cold water to one of his children. 

Yes, even less than that, — a word of advice, something lent to another, a little 
vexation patiently borne, the fault of thoughtlessness of another repaired without 
his knowledge. God will recompense it all a thousand-fold. 



Thoughts and words travel just as God's life travels. They do not travel like an 




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THE INSCRIPTIONS 



45 



individual, but breathe your spiritual life into the atmosphere as you do your breath, 
and some one else breathes it in. Those not present still perceive it, for it per- 
meates space, and all live in it and receive from it according to their unfoldment. 



On the pilaster facing the chancel and on the side toward the door : 

In loving memory of Jane Ann Lathrop, mother of Mrs. Leland Stanford. Born 
May 6, 1803. Died Steptember 3, 1882. 

In loving memory of Leland Stanford, son of Leland and Jane Lathrop Stanford. 
Born May 14, 1868. Died March 13, 1884. 

On the west wall of the nave : 

We must not desire to begin by perfection. It matters little how we begin pro- 
vided we be resolved to go on well and end well. 



Earth grants joys that are great, but transplant such joys to heaven, ennoble 
them through the ennobling love of God, and they grow to a magnitude beyond the 
comprehension of earth mind. 

God in His infinite wisdom gives to the poor blessings by way of compensation 
which the wealthy do not attain — the giving and receiving of heart offerings without 
price, deeds that win crowns and scepters in heaven. 



There is no narrowing so deadly as the narrowing of man's horizon of spiritual 
things. No worse evil can befall him than in his course on earth to lose sight 
of Heaven. And it is not civilization that can prevent this : it is not civilization 
that can compensate for it. No widening of science, no possession of abstract truth, 
can indemnify for an enfeebled hold on the highest and central truths of humanity. 
"What shall a man give in exchange for his soul?" 





THE STANFORD FAMILY STATUARY GROUP 
Formerly in the Memorial Court, now in the lobbv of the Museum 



r 




ROBLE HALL. FIRST DORMITORY FOR WOMEN 




THE STANFORD MAUSOLEUM 

Two senior students, a young man and a young woman, are appointed each term 

to place flowers at the door of the mausoleum every Sunday morning. 



LIBRARY OF 



CONGRESS 



020 773 601 6 




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THE STANFORD CAMPUS 



